Mucha

Mucha for the 21st century: Exhibition review

Two prominent art institutions in Prague are currently hosting two exhibitions of Alfons Mucha that try to place his work in a contemporary context. Although having the same curator, Karel Srp, they take seemingly different approaches. They, nevertheless, share the question as to whether Mucha is relevant today and if so, why and how and in what format his work might best exhibited.

Alfons Mucha (1860-1939) was a renowned graphic artist, applied arts designer, photographer and painter who spent his life partly in Paris, the USA and Bohemia. He is mostly famed for a variety of posters that promoted and advertised a wide range of lush, fin-de-siècle products: drinks, cigarettes, perfumes as well as the theatrical performances Paris based actress Sarah Bernhardt (1844–1923). His oeuvre, however, also included painting, again in a wide range of genres from portraits to murals; as well as photography and design of household items, such as vases, candle sticks and furniture.

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Devětsil 1920-1931: Exhibition review

To many, the creation of Czechoslovakia in 1918 following the traumatic war experience promised a reorganisation of the unjust class system and social and class change became the dream of many leftist artists. Creating a new visual language that would not be elitist and appeal especially to the disadvantaged working classes was an idea promoted by many individuals and collectives from the foundation of the new state. The artistic association Devětsil was born on these principles in 1920. Its key representatives were the young men of Prague and, from 1923, of Brno, who engaged in various artistic forms: painting, sculpture, architecture, design, film, photography, literature, theatre. The choice of the name Devětsil is a mystery. The Czech word refers to a plant, a butterbar, while the literary translation of nine forces could suggest a connection with the nine Greek muses.

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The Art of Subcarpathian Rus 1919-1938 – Czechoslovak Footprint: Exhibition Review

In response to current broader reconsiderations about how art, design and architecture in the First Czechoslovak Republic should be represented, the East Slovak Gallery in Košice is currently exhibiting The Art of Subcarpathian Rus 1919-1938 ­– Czechoslovak Footprint, which showcases paintings, prints and sculptures from the First Republic’s easternmost region. Built on the premise that artistic life in Subcarpathian Ruthenia, as the region is dominantly referred to in English, proliferated under Czechoslovak administration after 1918, the exhibition, curated by Miroslav Kleban, ties the region’s cultural development to the modernization efforts of the First Republic’s eastern regions.

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The First Czechoslovak Republic: Exhibition review

In October 2018, as part of the centenary celebrations of the founding of Czechoslovakia, the Gallery of Modern Art in the Veletržní palác (Trade Fair Palace) in Prague, a constituent part of the National Gallery, rehung its collection of early twentieth-century Czech art. In the place of a chronological arrangement covering the period from 1900 to 1930 is a more thematic display, with the title 1918-1938: The First Czechoslovak Republic. Originally intended to mark a particular moment, it has become a semi-permanent display; hence, a year after its unveiling, it merits a second look.

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Artwork of the Month, September 2019: Design for a lookout tower in Prague by Jiří Hrubý (1937)

 “See! A vertical from steel of 1000 meters! This was made by Czech hands! Look out from above the clouds! This is the Czech land, our homeland!”[1]

In 1937, the Czechoslovak government, the Chamber of Commerce and a number of businesses decided to host an international exhibition in Prague, scheduled to take place in 1942. The plan was published and immediately attracted the attention of a host of individuals and institutions. Part of the bid was a proposal to build a lookout tower which would be located on a hill in northern Prague and be 1000 meters high. The estimated price was a staggering 65,000,000 crowns; to put this amount into context, an average monthly salary at the time was 764 crowns. However excessive the idea may seem, the design was very well thought through and an elaborate rationale was provided.

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